Geisha, A Life, by Mineko Iwasaki with Rande Brown. Published by Atria Books, 2002.

The autobiography begins in the Japanese countryside, where a young girl born into an artistic family is somewhat mysteriously drawn into the world of the geisha. It is the story of one of Japan’s most famous contemporary geishas, or “geiko.”

To many readers, Iwasaki is known as the main inspiration for the fictional work by Arthur Golden on the same subject. Geisha, A Life surely must have been written to set the record straight regarding the real life of a geisha. As some know, the author actually tried to sue Golden for his portrayal of her.

If you are looking for salubrious content, you have come to the wrong book, as Iwasaki works very hard to portray her life as a traditional artist rather than as a woman trained to please men, sexually and otherwise. She stresses the extensive practice of manners, dress and dance. The fantastically ordered life of the geisha reminds one more of a monastery than a brothel. I enjoyed reading about the details of their everyday lives. I am sure she could fill another book with stories of her years in this oft-misunderstood business.

As one woman’s story, it stands as a tribute to a world in which we yearn to know more about. In another sense, I believe this book tells the history of the role of women not only in Japan and in Asia, but as part of a universal history.



To Live, by Yu Hua, translated by Michael Berry. Published by Anchor Books, 2003.

Funny, tragic and, at times, grim and unrelenting, To Live reveals the life of a Chinese everyman. The story begins when a young man gathering folk tales in the country meets a farmer carrying on a conversation with his ox. The two strike up a rapport, and the old man tells the younger about his life. At first, the reader can hardly believe that this cheery farmer could have lived out the fortunes he describes. But gradually we are drawn into the complexity of early failures and fortunes lost and won.

The old man Fugui was once the prodigal son of the Xu family. Depending on your perspective, Fugui could be a brat — even a monster. He gambles, beats his servants and basically ignores every opportunity to be either good or moral. He respects no one and eventually begins to reap the fruits of his lousy habits — only to find himself living in the early days of the Cultural Revolution.

To Live was once banned in China. Only recently was it translated into English. The author has won a number of international literary and film awards. Audiences outside of China may have been introduced to To Live through the film version. An adaptation of the story won the Grand Jury and Best Actor awards at the 1994 Cannes Film Festival.

Don’t read this book looking for cheery twists, as fate seems to grind away at this everyman. But Fugui’s efforts to live and transform that fate do make for lively and thoughtful reading.

Ann-Marie Stillion can be reached at annmarie@nwasianweekly.com.